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ladyluscinia · 2 years

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izzy is white and participated in colonial violence against his indigenous friend/co-worker/whatever. he actively executed that colonial violence for his own means so he could have ownership over ed. how is ed cutting his toe off any worse than that?

I assume this is referring to this post?

So first, anon, I want you to take a second and reflect on why you feel like the logical response here is to rationalize how a man could morally deserve his boss permanently mutilating him and feeding him his own toe.

And then I want you to stop asking yourself that because it's insane, it's absurd, and mainly because this is completely the wrong show for either of us to be taking that question seriously. Or your original "how is this worse than that?", for that matter.

The point of the toe scene isn't to prompt us all to start digging into the nitty gritty of every interaction and implication and power dynamic present between Edward and Izzy and try to figure out who the real victim / bad guy is here. It's a shocking escalation that makes doing that ridiculous, and lampshades it if you try anyway. We were already skipping around the absurd situation line when Izzy's betrayal was undone in 24 hours by mugging a guy for a dinghy, and that just puts us firmly past it.

And in this kind of show it can be a really good decision to make a situation too absurd to approach realistically.

I'll put this under a cut because it got very long, but I am actually trying to explain how in-universe handwaviness is a good and fascinating thing, and why you might want to excuse a character from narrative consequences (and how that's different from excusing them from character growth).

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So to start, handwaviness is normal in OFMD. This is because some narrative consequences are fun and interesting to play out - Izzy's rising frustration and tragic drama playing out in the background cumulating in a great raising of stakes and proper arc set up for Edward - and some narrative consequences suck and / or are boring - actually making Stede and Edward get stuck working for the King of England. So if you do it right you can explore the good bits and drop the bad ones without the audience going "Hey wait a second! That was way too easy." And adding a character level just makes things more complicated.

Outside of Edward and Izzy's everything, the character situations are a mess if we start bringing in consequences. Stede's entire crew save Buttons, Oluwande, and Jim wanted to murder him in episode 1. Jim tried to kill Lucius in episode 2 (while Stede wasn't very concerned by his potential loss), and Edward pulled off a much better attempted murder in 10. Buttons and Roach were actively trying to murder and cannibalize The Swede after Edward abandoned everyone but Jim and Frenchie to die, and the whole crew including Fang and Ivan also tied Izzy to an anchor and were seconds from murdering him. Given all that, how many of these people should honestly just never be in a room together again? For personal safety if nothing else?

Hell, even if your defense is that most of these situations were played for laughs - which they were and I love the mutinies in particular - there's still a glaring exception in Edward trying to kill Lucius. That was right in the middle of the "serious" set of actions that showed Izzy's scenes, so we're going to have to treat it similarly if we don't want the bad kind of dissonance... which you also get if the toe scene gets handwaved but Izzy threatening Edward is treated as serious harm. All three of these are linked. Either being sorry is enough for them all or it isn't, and I would not want to be the writer who had to figure out how to reckon with the long lasting effects of traumatic harm committed by someone you thought was a friend while in a romcom.

If we treat all of these things as serious, are amends even possible? Much less amends that can be carried out with destroying the lighter tone of the show? What about the people around them? What kind of person does it make Stede if he forgives / accepts Edward's treatment of Izzy and Lucius even if they don't? Even if Izzy doesn't realize it was fucked up in the first place (which is now less a funny masochism joke and more a giant red flag for abuse)? And Edward's marooning of the crew wasn't treated as seriously as the rest at the time, but can we really keep stretching handwaviness to cover that if Lucius is being treated as an actual victim right next to them?

And while I'm sure plenty of people would say that Izzy's situation is different because he's the antagonist, he's also an antagonist who has been treated with a lot of nuance and caution. If he becomes the sole member of the cast who is actually considered guilty of his own actions it will be fucked up, and that has some yikes implications too seeing as our main protagonist is a rich white guy who is getting to benefit from handwaviness around race. (Check the notes on that 2nd one too because there were multiple interesting threads.)

Protagonist centered morality gets very unfunny very fast if your protagonists start becoming hypocrites with wildly unpleasant implications.

For all of these reasons, it is a far better decision for the show to continue its policy of excusing unwanted narrative consequences as soon as it's reasonable - via keeping situations absurd enough to pull it off - and that includes letting Izzy off the hook as soon as he learns his lesson. Because this deliberately written and genre embedded handwavy approach is not the same thing as just blanket excusing a character.

I mentioned this in passing in my original post (to keep it short lol) and elaborated in the tags so I'll just pull those here:

Narrative consequences that lead to character growth are the fun and interesting kind. You don't wave those off. You want to explore them.

This is why despite the extensive collection of fix-it fics, fanart, jokes, etc. I doubt most fans would be satisfied if Stede shows up next season, kisses Edward, and all the events of episode 10 are forgotten. That would be a retcon, not a resolution. Edward has to face the narrative and go through the character arc that they've set him on, and he needs to get the development out of it. He just doesn't have to keep facing the consequences once they've done what they needed to.

He can regret throwing Lucius overboard, Lucius and the crew can forgive him, and they can all go right back to hanging out and shipping him with their captain. Hell, the comedy is dark enough they can make jokes about the attempted murder. But it won't make much sense to keep haunting him with it for the rest of his life, so I don't think they will.

Izzy? Is in a very similar boat.

He has to face first and foremost the toxicity in his relationship with Edward, and this will almost certainly necessitate addressing the racial elephant in the room if they do it right. That's the part where he figures out he fucked up and earnestly gets sorry about it.

The thing is after that bit, the logical progression is just making him behave better in the future. It would be weird and inconsistent if Izzy gets the character development but is still deemed "beyond forgiveness" somehow (ex: Edward being unwilling to mend their relationship while getting along with Lucius, or the writers never letting him out of the apology phase). They could maybe present it like racism is a special form of evil, but for Stede reasons that is a dangerous play on a thematic level (and also a bit fucked on a real life level, since they put so much effort into making Izzy nuanced presumably to make attaining racial awareness and growth feasible in the first place).

EDIT: While it's still possible they might be addressing some of Izzy's standard white guy race obliviousness, the confirmation that the anchor hoist scene wasn't intended to be a racially motivated decision very much pushes that out of the spotlight. He needs to address his and Edward's whole toxic mess, but it's now very possible that character growth skips over any race based dynamic because the writers haven't been including that as one of their problems.

So yeah... I will very easily excuse Izzy's actions if he gets the "I fucked up" arc right alongside Edward's, because I know I'm going to very easily excuse Edward's actions and it does not make any sense for me to hold these characters to different standards. The show can still explore themes and character growth despite the handwaviness - in fact in part because of it giving them a way to cleanly exit a serious tangent without having to be completely serious about it. This is deliberate. This is fascinating. And this is fun.

(And tbh I have already excused specifically the Navy plot both because of the toe thing and because it very rapidly dropped in significance as soon as Edward signed the Act of Grace. It no longer matters as a specific thing that was done so much as just one of the steps in the collapse of Edward and Izzy's relationship.)

Also, as a final note... As with literally anything in fiction, people are going to react to things differently. Just like there's people who can't watch this show at all because Stede Bonnet was a real slaveowner, there are people who will not consider Izzy redeemable or who will be unable to handwave his actions to the extent they will other characters'. And if the show does go through with character growth, there is a good chance they won't be satisfied with what they get. It happens. There's not really anything to be done about it.

#our flag means death #this is specifically about genre conventions and how fascinating they can be while playing with narrative consequences #i've been trying not to say *too* much on racism as it is not my lane and as such i'm not getting into details of izzy's stuff in the ask #i don't really have to anyway. it comes down to knowing they have left him capable of a growth arc and consistent treatment matters #izzy hands ofmd #blackbeard ofmd #edward teach #what the hell. i will add #lucius spriggs #genre #my meta #ladyluscinia #ask #anon #(though i pretty much just bounced this into a meta post)#ofmd meta #lucius spriggs ofmd

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antiloreolympus · 1 year

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10 Anti LO Asks

(Note: All of these asks are before episode 206 (Season 2 finale) so some may be dated.) 1. [spoilers for the most recent lore Olympus epsiode] if I wasn’t already a LO hater this episode would have been the final nail in the coffin. WHY is kronos, the ancient extremely powerful titan that rules over TIME ITSELF (and most likely the final boss), drooling over oh-so-beautiful Mary Sue Persephone like a dime a dozen perv? It’s such blatant fanfic writing and it makes him so much less intimidating as a villain. seriously what the fuck. literal wattpad moment.

2. having your favorite god show up in lo is the worst feeling in the world

3. I truly love your thoughts on lore Olympus, I wish RS, instead of making a love/romance story, that she would have made a story based on the actual myths themselves yet make it her own “style”. Greek myths were there to teach lessons. For example, Zeus was loved by the people of Greece but was described as a asshole and cheater never getting a fair punishment for his actions. This was a way to teach the people about unfair power dynamics. RS could have made a story about this, she could have has us hate the characters at first but then, have them grow on us as we go through certain myths, having the characters grow throughout the story. Sorry- I’m rambling but that’s my take on it…

4. Eris from Billy and Mandy has superior charisma and powers change my mind

5. Honestly I’m pretty sure I saw that this is LOs last season so I’d thought I’d read up on it, because even if somethings bad I can usually still read it normally without being invested, but reading Persephones parts are unbearable. It’s so cringy and weird to me. I didn’t really notice that much but then you throw in other characters like Zeus and the most recent goddess shown and they’re so much better. I was really into Zeus’ story but it ended way too short. Maybe it’s just because I’m more into reading stories that have a established bad character and then the story goes on to explain what happened to make them bad, but it’s so much more interesting to me to see Zeus grow up unaware of who he was, raised by by nymphs of all things and try to piece together how he got were he is. The fact he was raised by nymphs but they’re treated as lesser than In the future is so interesting to me. I want more of his story because even if we know how the current Zeus is, the progression of his more meek kind character raised by women nymphs into self absorbed king who doesn’t treat women as people is way more interesting. Idk it just helped me realize how plain and boring Persephone’s story is in comparison when it shouldn’t be.

6. minthe in lore olympus >>>>>>>> hades and persephone in lore olympus

7. I actually really liked Persephone in the beginning of Lore Olympus. She, along with the slightly cool art style, were the reason I even read as far as I did. I thought she was a cool character with a fun personality in the beginning.

I never particularly liked Hades, but I thought he had potential. I thought he was an interesting character and was excited to see him develop.

I never ended up getting that far in, because I often put stuff down and don’t come back because I have a bad memory. But then I read some more about it, and was happy with my decision to stop. I am really disappointed with how the story went. I really liked the characters and their potential in the beginning.

8. I didn’t realize how much the quality of the comic has dropped until I decided to reread the first couple of episodes. Some character’s personalities have completely changed (for the worse..), the writing quality/dialogue is very bad in comparison, and the art quality has dropped tremendously. Not to mention the plot has completely changed. It’s a shame WT forced RS to make LO so long, I think a lot of the issues it has right now wouldn’t be present if the comic was much shorter.

9. Idk if you still answer anons or anything but it is so funny to me that LO fans (particularly the ones who fastpass) are starting to turn on the comic. I've seen a lot of fans saying they haven't been happy with where the story is going/pacing/things like that. They're especially upset that webtoons is now charging 7 coins vs 5 coins for fastpass. Idk it's just funny to me. These are people who would like fight to the death any time someone dared to criticize Smythe and now they're like wait this actually isn't that good. Oh how the turn tables.

10. I just started LO again and remembered how engaging it was at the beginning and how each character was unique in a sense. Now it is just a shell of what it was used to and feels like second rate fabrication. Honestly even Zeus became the character that make the most sense and he’s supposed to be the problematic one… He’s honestly the only one criticizing Persephone at this moment and I need that fresh perspective

#anti lore olympus #anti lo #lore olympus critical #lo critical

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antigonewinchester · 2 years

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Taking a bit of a break from my Gadreel / Trials meta to look more at the Mark of Cain arc. I’ve not seen much recent meta about the Mark and what’s going on with Dean in the narrative at this point, which also gives me some more analytical space to work in here. Felt like with my Gadreel / Trials thoughts, I was at best starting to just riff off of what others had written, and at worst just repeating what others had already argued better than me, and that’s no fun for anyone.

First, I’ve been trying to sort through the writers’s overall framing around Dean and violence, particularly post-Kripke. At the time when the Mark became a plot point on the show in season 9, the writers seemed to see Dean as a uniquely violent character, drawn to brutality and killing in a way that Sam (and somewhat Cas) were not.

The theme of Dean being violent is a thread that goes far back in the show. For example, there’s the exchange at the end 02x03, “Bloodlust,” which shows a dynamic of Dean drawn to violence and Sam questioning it:

DEAN What if we killed things that didn't deserve killing? You know? I mean, the way Dad raised us…

SAM Dean, after what happened to Mom, Dad did the best he could.

DEAN I know he did. But the man wasn't perfect. And the way he raised us, to hate those things; and man, I hate 'em. I do. When I killed that vampire at the mill I didn't even think about it; hell, I even enjoyed it.

SAM You didn't kill Lenore.

DEAN No, but every instinct told me to. I was gonna kill her. I was gonna kill 'em all.

SAM Yeah, Dean, but you didn't. And that's what matters.

DEAN Yeah. Well, 'cause you're a pain in my ass.

SAM Guess I might have to stick around to be a pain in the ass, then.

However, after this episode and over the rest of the Kripke era, Sam, Dean and their relationships to violence continues to evolve. Dean’s violent side is balanced by his hidden sensitivity and protective streak, while Sam’s innocent side is balanced by his hidden ruthlessness and drive for revenge. Over seasons 1 – 5, Dean gradually begins to question his violence and eventually expresses a desire to leave the hunting life, while Sam gradually becomes more violent, increasingly driven by his (both metaphorical & literal) thirst for retribution.

Post-season 5, however, Dean and his violence becomes a focus of the narrative again, often contrasted with Sam and Cas as less violent foils. Although both Sam and Cas have their violent moments, such as soulless!Sam in season 6 and Cas as Godstiel in season 7, Dean and his violence are especially highlighted within the story. For instance, Dean is presented as a “killer” while Sam and Cas are not, even though they also kill. Soulless!Sam is even framed this way in season 6, through the lens of Dean as a killer:

DEAN I thought [Soulless!Sam] was a monster. But now I think… [...]

DEAN He's just acting like me. [...]

DEAN No. But what I'm good at... is slicing throats. I ain't a father. I'm a killer. And there's no changing that. I know that now.

The Mark of Cain arc often presents Dean’s violence as something tainted or pathological; occasionally in season 10, Sam and Cas will use violence in a similar way to Dean, but only Dean’s violence will be pointed out by the narrative as something bad. During this arc, Dean is directly paralleled to Cain, the world’s literal first murderer, while Sam and Cas get paralleled to Colette, Cain’s loving and non-violent wife, with Sam also being linked to Abel, the world’s first victim. In season 11, Dean is explicitly linked to Amara, the amoral embodiment of destruction, with Sam more indirectly linked to Chuck, the embodiment of creation as God. While Dean is ultimately presented as ‘better’ than both Cain and Amara, overcoming the Mark’s curse unlike Cain and letting go of his resentments and choosing family unlike Amara (and in fact helping Amara to do so herself at the end of season 11), these parallels do frame Dean as a particularly dark figure within the story. And as I understand, the Dean as “killer” idea doesn’t resolve at the end of the Mark of Cain arc, as one might expect thematically, but continues on thru to the end of the show.

This thematic consistency makes it harder for me to sort through why the framing of Dean as violent works in earlier seasons but doesn’t feel the same to me in later ones. While this meta is going to be me thinking aloud, so my thoughts may change or shift as I go along, what I’ve come to so far is this: unlike most of the early Kripke seasons, later seasons decontextualize Dean’s violence from the ways he was coerced into violence in both childhood and adulthood, with the attention instead placed on Dean as being an innately violent person.

I want to talk about this idea first as it relates to Dean’s time in Hell and how I see that connection as an important part of the Mark of Cain arc.

#dean #meta #meta personal #dean & the mark #finally going for this!! this meta isn't finished but i've got a couple other parts already written up #i particularly want to dive more into the mark & hell connections because the more i looked the more i found #still surprises me when ppl say dean's time in hell disappears from the story when it feels so threaded into the moc arc to me

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convenientalias · 2 years

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Word of Honor Review

I finished watching Word of Honor so I thought I'd write a review of it! I feel like a lot of ppl I follow/who follow me have already seen this so I'm not gonna be too thorough/organized, just some thoughts that occurred to me. Also there will be spoilers, so the rest is under the cut.

The Plot

I didn't enjoy the intrigue side of the plot that much. Imo to properly enjoy a revenge scheme, whether or not it's carried out, it's better to know the details of the revenge from the start--who's seeking revenge, what they're seeking revenge for, how they're seeking this revenge, and who they're targeting. You don't need ALL that information from the get-go, but when a show does like Word of Honor and I only find out why Wen Kexing is seeking revenge halfway through the show, I'm just not as invested in it. Other ppl might enjoy the mysteries of Wen Kexing being slowly unveiled, and I wasn't NOT into that, but as regards secret identities, I prefer dramatic irony over curiosity. For that reason I wonder if I'd enjoy the beginning of this show more if I watched it a second time.

As for the entire jianghu fighting over the Glazed Armor, eh. Besides Zhang Chengling, there's just no one involved in that dogfight I cared about, so it took up more time than I would have liked.

The romance side of the plot (I would struggle to call this a bromance, though I know it technically is) is more fun, Wen Kexing and Zhou Zishu getting to know each other, Zhou Zishu slowly learning more and more (often alarming) info about Wen Kexing while Wen Kexing grows more and more invested in Zhou Zishu's wellbeing and their relationship. They're also just very flirty and fun.

I wish the pacing had been a bit more even. The beginning feels rather slow, the middle's pretty steady, and the end is pretty rushed. If we had a few less "Oh no, everyone wants the Glazed Armor" episodes and a few more "fuck, Zhao Jing is dead but the whole jianghu still hates Ghost Valley and also Xie'er is a scheming, betraying asshole and also Zhou Zishu is on the verge of death" episodes (instead of like... two of those), that would be pretty nice. That said, I can't say there was a period of the show I didn't enjoy; even when things are slow, it's just fun watching Wen Kexing and Zhou Zishu interact.

Zhou Zishu and Wen Kexing (And Their Relationships!)

I thought based on what people say about the show that I would be all in for the antihero/villain protagonist aspect of this show, but eh. Actually Zhou Zishu and Wen Kexing's (at least apparent) apathy towards killing in the first couple episodes really turned me off and made it hard to connect to them. I found it easier to empathize with them when 1) it became clear that Zhou Zishu DOES feel guilt over his past actions (yes this should have been obvious to begin with given the seven nails, but it's not always emphasized) and 2) Wen Kexing has Reasons for being fucked up. There's more angst that way, too!

I love Zhou Zishu, the one who led a secret spy force, being in some ways the more honest of the pair, and I love him as the one who's further down the road of "not evil anymore I want to be loved now". I love him just... taking his hair down after quitting Tian Chuang because he's officially in Soft Mode, and the unnatural vibe when Tian Chuang captures him and he's presented to Prince Jin with his hair up, forced back into that role. His dynamic with Prince Jin in general is super interesting--especially how Prince Jin doesn't seem to have valued him that much while he had him, and at first is only angry at him leaving, but later is willing to beg him to come back, realizing that without Zhou Zishu he's alone.

In more functional relationships, Zhou Zishu and Ye Baiyi's family friend dynamic is so perfectly polite, artificially familiar without really knowing each other. Zhou Zishu and Han Ying make me very sad. And Zhou Zishu and Zhang Chengling (and the rest of the new Four Seasons disciples) make me annoyed bc damn it, Zhou Zishu, it's one thing if you're going to die, but if you're going to be an immortal hanging out on an ice mountain in the middle of nowhere for the rest of forever, you could invite your disciple(s) up there for at least a while in order to finish his (their) training! Even the epilogue can't fix this for me.

For Wen Kexing, I enjoyed him being casually flirty, but whenever his eyes widen or start glinting and he goes either calculatedly threatening or actually mad, that's the good stuff ;). Maybe the first moment I really loved him was when he tried to convince Zhou Zishu that watching ppl fight to the death over Glazed Armor from an inn rooftop was Great Fun. He really thinks that! Wen Kexing, no!

I enjoyed his relationship with Gu Xiang a lot; at first Gu Xiang annoyed me but later I liked how he wasn't just protective of her but saw her as someone similar to himself, someone who'd been through similar trauma, whose personality had been forged into a similar shape of violence and a craving of affection, safety, and acceptance--someone who faced the same dangers as him (both physical and emotional) and who, too, might want to seek love and independence and leave Ghost Valley behind. While Gu Xiang understands Wen Kexing and accepts him in a way that many others wouldn't, too.

Also I love every time Wen Kexing and Ye Baiyi interact. The way they rub each other the wrong way from the beginning, and while Zhou Zishu and Wen Kexing's bantering and mutual annoyance is harmless play, Wen Kexing and Ye Baiyi always are on the verge of something more dangerous--and in the end, when the facade of friendship between them breaks at the revelation that Wen Kexing is the Ghost Valley Master, it feels inevitable but still somehow upsetting because the fragile balance of friendship, even if it was based on deception, was still something real. Also every time they FIGHT fight, it's like... hand impact goes BOOM! what more could you want.

As for WenZhou itself, it's just fun to watch those two hang out. But also, they really do get each other. There's a moment where Zhou Zishu is remembering all his good times with Wen Kexing and there's this heartwarming montage of their past interactions, and then he (who currently thinks Wen Kexing is dead), says, "Actually, I knew what you wanted all along". And at the time I thought to myself, yes, he wanted to be with you forever/have sex with you, the montage makes that obvious. But Zhou Zishu says, I can't remember the exact words, something like, "You wanted to destroy this world and kill everyone in it", and like. What a great followup to a heartwarming montage. Wen Kexing almost always shows Zhou Zishu a smiling face, but Zhou Zishu knows the turmoil lying underneath, and although at first he wants to change it, later he's even willing to accept it and comes within an inch of saying Wen Kexing was right to feel that way. That's love.

Zhao Jing and Xie Wang

Finally, some thoughts on the villain villains of this show!

Zhao Jing is boring as hell but for this show that's pretty much what he should be. After all, this show (and Wen Kexing) doesn't see Zhao Jing as the root of all evil in the jianghu, the root of the MC's problems. It's the jianghu at large that is the issue, the accumulation of petty ambition and cowardice, ppl neglecting to stand up for what's right and easily accusing others of wrong. Zhao Jing is just the best person to represent this type of banal evil, and he really is fucking banal. Like, we know he had an inferiority complex to the rest of his friend group, and there's no apparent reason for it, he just did. Most of his big murders he didn't even commit but got someone else to do--Gao Chong wielding the blade he poisoned, Ghost Valley killing Wen Kexing's parents, etc etc. He's just this boring ambitious guy who knows how to manipulate ppl and get what he wants. I have no idea what Luo Fumeng saw in him but I guess that's her problem.

Also I think Zhao Jing would never have seen his ultimate fate coming. Like he could picture Wen Kexing or some other foe killing him, or his ambitions ending in disgrace. But Xie'er breaking his leash, betraying him, and keeping him as a helpless prisoner for the rest of his (admittedly short, but only by happenstance) life? It's not within his range of calculations; he really, really doesn't pay enough attention to Xie'er.

Liked Xie'er a lot! I've seen ppl say he's a lot like Wen Kexing but I don't really agree with that. I mean, they're both silk hiding steel, suave and friendly, obsessed with their man, and actually very violent with a terrible reputation, so there's that. But Xie'er's arc is him realizing his master is using him without valuing him, may betray him in the future and is not worthy of following, and ends with him betraying and not-quite-killing his master--seems more Zhou Zishu to me. And the Scorpions seem more similar to Tian Chuang than to Ghost Valley; sure, their personalities are similar to the ten top ghosts, but their function is that of an assassination squad, not that of a Bunch of Evil Fuckers Who Go Around Causing Trouble Bc They're Evil. Anyway idk I think Xie'er is more like Zhou Zishu than Wen Kexing BUT I also think Xie'er/Wen Kexing would be a more fun ship and I wish there was more fic for it. (If anyone has recommendations, let me know.)

Overall

A good show. I don't think it would go on my list of favorites bc 1) like I said, the intrigue plots bore me, and I usually love intrigue and 2) the uneven pacing is annoying. But I liked most of the characters and there was really some great fighting. As wuxia shows go, I'd say I liked it better than Ancient Detective but less than The Flame's Daughter or Handsome Siblings. That's very much a matter of taste, though. (If I ever did a review on The Flame's Daughter or Handsome Siblings you'd find out I recommend them only with a bunch of caveats).

Anyway I'm glad I watched a popular show for once, bc that means there's quite a bit of fanfic and fanart out there! I should have fun.

#word of honor #cdrama #review

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wu-kongs · 2 years

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The energy absorption does have its backdraws for Wolf! The more energy she takes, the more energized she feels, but since her body works like a battery/vault, if she is too full of energy she tends to go into like, a dormant state, where she wont wake up until her body has burnt through enough energy to continue as normal (its kind of like a self-preservation mechanism, too much energy could potentially kill her, so her body shuts down to burn through the stored energy before she can get to that point lol) She cannot fight this "coma" state and is absolutely helpless and vulnerable as long as her body thinks it has too much energy.

Wolf first met Macaque bc the monkey had the gall to pass out in her garden, and he looks so pathetic and small she goes "eh, its a slow day, might as well" since she was kind of bored. Macaque wakes up from getting his ass beat to suddenly finding himself in temporary house arrest by a doctor known for eating her patients, and instantly goes "Self-preservation doesn't exist, i am going to annoy and threaten this very dangerous demon as long as I can". Macaque, though, was in such a bad state, that its like if you were being annoyed and threatened by like a fucking ant, Wolf initially found him too pathetic to kill, but as Macaque healed, she found him just too funny to kill. They have somewhat of the Pigsy-Tang friendship dynamic, except Wolf is just vibin with this funny and pathetic little monkey who's too poor to afford anything while Macaque thinks he is just one (1) second away from getting killed and eaten but refuses to stop because free healing in exchange of small favors is too good of a deal to pass up.

Wolf is strictly forbidden from meeting DBK or PIF in the present by RedSon, mostly bc Red very firmly thinks his mother would either hate or love Wolf, and he is not ready to see the disaster it could bring. Wolf only allows this bc she will meet either parent at one point or another, she is just letting Red dream a bit and let him think he has some control over this whole situation. Wolf does have a vaguely godmother/cool aunt vibe towards Red, neither really directly acknowledges it though besides Wolf using it as teasing material. But Red does spend a lot of time at Wolf's clinic though, and Wolf does allow Red to ramble abt his petty drama, so they do have this vague familiar thing going on that neither will acknowledge until the other does (Wolf bc she thinks is amusing to see Red fret, and Red bc he internally already accepted Wolf as some sort of figure in his life he just forgot to say it to Wolf lmao)

ok see i like those drawbacks because they make sense in my head—when i used to be into BNHA, i of course made an OC whose quirk was empathy/emotional energy absorption/manipulation and if they absorbed too much and didn't expend it, rather than a coma, it sent him into a severe uncontrollable episode of mania. i think all that's real fun :3c

i really like her relationships with maq and red, they're fun goofy dynamics that are easy to digest and not loaded with a bunch of drama, but also that she seems to stand on equal ground with them. it also reflects on her really well as a quick-witted character with a kind of elegance to her.

which of red's parents does she end up meeting first? does red end up being right about iron fan's reaction? eye think they'd get along famously tbh and i'd love to see them interact. wolf has that no-bullshit behavior i think iron fan would like, though she doesn't have iron fan's slight flare for the dramatic lol

#ask #anonymous #welcome to the chamber of o commerce

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beneaththetangles · 2 years

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Reader’s Corner: Kaiju No. 8 (Vol. 3), Trapped in a Dating Sim, and The Phantom of the Idol

This week, we cover the thrilling new volumes of Kaiju No. 8, the volume of Trapped in a Dating Sim that picks up the story from where the anime left off, the first installment of The Phantom of the Idol (the anime adaptation of which premiered last week), and so much more!

Witch Watch, Vol. 2

At the end of volume one, I was left worrying that the easy, breezy rom-com elements of Witch Watch were quickly being left behind for darker, more mysterious fare, as ogre Moi seeks to protect his childhood friend and witch, Nico, from a disaster foretold in a prophecy. But while volume two does begin by referring to that prediction, most of the material settles right back into the same hilarious and cute territory that made the first release such a winner. Moi’s role as Nico’s familiar continues to power the story’s scenarios, though now he’s joined by another as well in the form of the crow, Kan. Instead of making him a love rival, however, I’m stoked that this series turns Kan into a cheerleader for Nico as she tries to flip her childhood friendship with Moi into a romantic relationship. The dynamics between these three set up a number of cute and humorous situations, including a romantic one that closes out the volume. And in between is more hilarity, much of it presented in a silly, unexpected way, like the boy who asks Nico for a spell so that he can poop in peace, and the teacher who hides her obsession with the fanart one of her students draws. But look, despite the mention of poo, the humor is so surprisingly clean—it’s also funny, clever, and heartwarming. With only a digital release, this series feels far too under the radar for what it is, which is perhaps the best manga rom-com to premiere in 2022. ~ Twwk

Witch Watch (manga) is published by VIZ Media.

READ: Witch Watch, Vol. 1 Review

Dinosaur Hour, Vol. 1

Has anyone else found manga to be sorely lacking in dinosaurs? I can’t say I am a huge fan of dinosaurs, but my kids are and that was the main reason I read Dinosaur Hour. My kiddo kept telling me how funny this manga is, and I have to admit that even though this is geared towards a younger audience, I found myself laughing a time or two! It is an episodic manga that features a variety of dinosaurs (and I do mean a variety: I could not keep up with even half of the dinosaurs mentioned) in a range of situations that result in shenanigans for all dinosaurs involved. Even though most of the chapters hit the same “beats,” it was still fun to see what the new dinosaur introduced would do. There were some “violent” moments, but nothing definitely bloody, which I appreciated as a parent. My kids and I are bummed to know that we will probably never get a volume two, but even so, it’s one I would still recommend to all ages! I especially think younger audiences who love dinosaurs will enjoy meeting (or seeing old favorites!) in the humorous situations presented in each of these chapters. ~ Laura A. Grace

Dinosaur Hour! is published by VIZ Media.

Phantom of the Idol, Vol. 1

I admit it—I’ve never kept up with an idol manga, nor have I completed an idol anime. But Phantom of the Idol, which now has an anime adaptation, is likely to be the title that changes that for me. It is hilarious, cute, and well thought out. That last bit is what impresses me most about this series in which Niyodo, one half of an idol duo who cares so little about his work that he sometimes even looks up lyrics to the song he’s singing on his cell phone while on stage, partners with Asahi, the ghost of a popular idol who loves her profession so much that she keeps working at it even after her death! Asahi possesses and otherwise trains Niyodo to help him grow as an idol which, as you can imagine, leads to a number of funny gags, but there’s a lot of excellent scenario writing here, too. By the end of volume one, the relationship between Asahi and Niyodo is already well-established, and they work absolutely perfectly as an odd couple—not in a romantic way (not yet), but in how they play off each other, mostly for laughs, though sometimes warmly as well. Asashi has a kind heart and wants the best for Niyodo, who becomes more than his usual “cash it in” self in large part because of the ghost’s earnestness. There are a lot of jokes and a ton of dialogue, enough to advance the volume past simple introductions and into a fun plot involving the three (and apparently only three) women who stan the unloveable Niyodo, and work to increase his group’s prominence as they perform at the, wait for it, Hottie Farm Hot ‘n’ Fresh Farmers’ Market. Yep, this manga is a keeper. ~ Twwk

Phantom of the Idol (manga) is published by Kodansha.

Kaiju No. 8, Vol. 3

One of my favorite ongoing shonen manga series, Kaiju No. 8, continues to release strong, thrilling volumes, with this latest release being no exception! There were multiple points when I literally forgot to breathe while reading! This volume picks up right where volume two ended and throws us right back into the battle at a point where Ichikawa’s life was seemingly on the line. Thankfully, that situation turned out okay, otherwise this review would be very different! However, that doesn’t mean that things are going smoothly for Kafka as we see an intense battle between him and his vice-captain, Hoshina, quickly follow! I have been curious about Hoshina for a while now, and was more than a little starstruck while watching this battle unfold (even if I was also gripping my Kindle in anticipation of how this would affect Kafka). It was absolutely one of the best parts of this volume and highlights why Hoshina is indeed vice-captain! The story calmed down after this intense battle, with a special celebration for the Defense Force, yet the volume’s ending reminds us that while one kaiju may be taken down or stopped, the battle is far from over. It’s definitely a good thing that many of these incredible characters have “leveled up,” including the awesome Shinomiya who continues to shine on the page! Truly, Kaiju No. 8 gets better and better with every release! I am ecstatic to get my preorder because it’s a story I simply can’t get enough of! ~ Laura A. Grace

Kaiju No. 8 is published by VIZ Media. Volume three releases on July 12th.

READ: Kaiju No. 8 Reviews: Vol. 1 // Vol. 2

Trapped in a Dating Sim: The World of Otome Games is Tough for Mobs (Light Novel) Vol. 3

Surely I can’t be the only one to have found the Trapped in a Dating Sim to be—outside of SPY x FAMILY—the most entertaining anime of the spring 2022 season. If you feel similarly, do as I did: Jump into volume three of the light novel series, which continues the story at almost the exact point where the anime concludes, with Leon having overcome the Principality of Fanoss. But what’s this? Leon has been jailed…again? Looks like an opportunity for the Principality to strike again. And indeed, they do, and with fury. Unlike the mixture of action and slice-of-life from previous volumes, this one is pretty much non-stop warfare for more than 500 pages. I loved how volume three makes the series overall resemble a true fantasy series in this way, foregoing many light novel conventions and becoming quite epic in scale by mixing in political intrigue and a new enemy (see the cover) while never forgetting the main cast. Even though I’m in this series mostly for the snark and how it pokes fun at the otome and isekai genres, I’m also 100% in for this more action-focused volume. There’s still snark, though, and Luxion and Leon remain the most compelling duo in the series. And don’t worry, romance isn’t forgotten either, with a couple of surprises in stores, including one that’s meant to be a distractive element for the main character and readers, and one that’s a truly earth-shaking development. ~ Twwk

Trapped in a Dating Sim: The World of Otome Games is Tough for Mobs (light novel) is published by Seven Seas.

Silver Spoon, Vol. 8

While Silver Spoon is full of camaraderie and humor, its world of livestock, crops, and students largely hailing from poor farming backgrounds is nevertheless fertile ground for more dramatic fare that challenges readers to consider the difficulties of real life. The fulfillment of the overarching storylines is still a while away, but in the meantime, volume eight foregrounds the growing tension between what Aki’s family expects of her and what she desires to do, emphasizing this all the more through what occurs to Komaba and his family. The themes of following one’s dreams and the economy of harsh reality blend together in a heartfelt and authentic way that admits the reality of discouragement, while allowing for glittering shonen hope as well. A ton of plot development occurs in volume eight, where the character most in focus may be life itself, though Aki continues to be more and more fleshed out—far more so than is typical for a love interest—in this thoughtful collection of chapters. Silver Spoon is such a consistently excellent series, but these chapters shine among the best, behind only the Pork Bowl arc in their warmth, sadness, and depth. ~ Twwk

Silver Spoon is published by Yen Press.

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Reader’s Corner is our way of embracing the wonderful world of manga, light novels, and visual novels, creative works intimately related to anime but with a magic all their own. Each week, our writers provide their thoughts on the works they’re reading—both those recently released as we keep you informed of newly published works and older titles that you might find as magical (or in some cases, reprehensible) as we do.

#Manga #Light Novels #Witch Watch #Dinosaur Hour!#Kyouryuu no Jikan #Phantom of the Idol #Kami Kuzu Idol #Kaiju No. 8 #Kaijuu 8 gou #Trapped in a Dating Sim: The World of Otome Games is Tough for Mobs #Otomege Sekai wa Mob ni Kibishii Sekai Desu #Silver Spoon #Gin no Saji #Reader's Corner #Articles #Author: TWWK #Author: Laura A. Grace

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pale-silver-comb · 4 years

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So I know absolutely nothing about Leverage except what I've been seeing you post lately and I have to admit you're making it look tempting to watch! Can I ask what are some of your favorite things about the show/reasons you would suggest people watch it? And is there really a poly relationship that is canon?

Okay. Okay, okay, okay, okay, okay. I am going to do my best not to just “asdfghkjl” at you and answer coherently.

In a nutshell, Leverage is about 5 people. 4 are criminals (Parker, Hardison, Eliot and Sophie) with different and unique skill-sets and 1 is an ex-insurance investigator (Nate) who, at one point or another in his career, has tracked down (or at least attempted to) the other 4. The whole show is essentially: man reluctantly reforms 4 criminals to use their criminal powers for good and 4 criminals move into man’s life and stubbornly refuse to leave because, goddammit, now they have morals.

I’ve got a lot of favourite things about the show but the main ones are as follows:

1. Found family. And I’m not talking about loners who come together to fight crime and happen to co-exist to the point where they realise they happen to have found themselves a family. I mean, Nate and Sophie are the Drunk Uncle and Wine Aunt who somehow become Mom and Dad to 3 beautiful criminal children. Mom and Dad love their criminal babies and the kids love them (as well as each other, but we’ll come to that in a moment). You get amazing family moments such as: Mom and Dad packing the kids lunch before sending them out to kick corporate greed’s ass; Mom and Dad giving the kids ridiculously expensive and personal Christmas presents causing their most Grumpy Kid to go very very quiet and soft as he runs off to gleefully play with his new murder toy; the kids interrupting Mom and Dad’s big Movie Style Kiss to ask if they can please keep their new underground layer and huffing and puffing when Dad tells them no.

2. Found family: the OT3 edition. To answer your question, the OT3 is indeed canon, confirmed by the creator. Now, usually, “confirmed by the creator” infuriates me because most of the time it’s a way for a creator to be seen as “progressive” without doing anything to actually be progressive. That isn’t the case here. The OT3 are built up carefully and while it is obvious the creators didn’t originally intend for all 3 of them to become a relationship in the romantic sense, by mid-season 5 we are given a very clear picture of where Parker, Hardison and Eliot are heading in their relationship. There aren’t any kisses at the end to signal this but there are solid marriage vows in not only one but two episodes. (And by marriage vows I mean literal equivalents of marriage vows: “for better or worse” and “’til death do us part”. I’m not even exaggerating). The OT3 also doesn’t need explicit romantic narratives to convey how much they love each other. Their love is laced through the whole show, from the way they teach each other things to the way they respond to each other and work as a unit. The way they fiercely protect and admire each other. Like someone once said, if you need characters to kiss or say I love you to let the audience know they love each other, you are writing them wrong.

Aside from that, each of the parings in the OT3 are just. Gah. They are so well done, with friendship being the solid basis for them all. The creators never expect the audience to assume anything about them or fill in the gaps. They give us their relationships on screen and reference many things off-screen to show us how these relationships continue to build in between episodes.

Hardison and Parker are a canon couple and date in the show: it’s approached slowly and they are so goddamned sweet. They are basically every fluffy slow-burn trope with a healthy dash of mutual pining in the mix. They are basically that quote “love is patient, love is kind”. (I would like to add their romance never becomes the focus of the show or overrides the importance of any other relationship they have with the other characters, especially Eliot.)

Hardison and Eliot are the Old Married Couple and from day one are already bickering and looking at each other/making comments that are found in every UST fic ever (not to mention Hardison has a very good knack for making Eliot grin like a little kid, when usually he’s basically an Angry Little Chef Man). They argue, they play, and love each other plain as day.

Parker and Eliot are more subtle but every bit as wonderful. They have an unspoken connection and understand each other on a level no-one else can. Parker and Eliot are not good with giving themselves over to affection for different reasons (and Hardison plays a central role in helping them realise it’s okay to want it and have it- that boy has endless patience) but there is something so beautiful in the way the two of them come together on their own and develop their own special bond that works for them. Parker and Eliot are that trope where the characters don’t need to speak to understand each other perfectly. They just do. Their love language is a lot of the time non-verbal but speaks volumes. (Parker also likes to annoy the hell out of Eliot and Eliot....just.....lets...her. Because he’s soft. The softest, grumpiest boy.)

I could go into so much depth for each pairing and their dynamics as a 3 but that's for another post.

3. Subverting stereotypes. There is the occasional hiccup in the show regarding stereotypes but ultimately, Leverage gets an A+ when it comes to writing characters and making them 3 dimensional people who are not defined by certain characteristics or events. Nate could so easily fall into the White Man Pain trope where he uses the trauma of losing his kid as a reason as to why he is entitled to act like a dick. Nate is a dick but he doesn’t use his pain to excuse it and I appreciate that. Hardison is a black man who is soft and nurturing. Easily the most empathetic and patient of the group. He’s nerdy, an actual genius, and has the biggest heart of all the characters. Nate is maybe the glue but Hardison is definitely the heart. Media’s usual aggressive, amongst other, racist stereotypes can fuck right off. Parker is canonically autistic (I am sure this was confirmed by one of the creators) and she is not defined by it. It’s not written as some kind of singular personality trait. It’s part of what makes up Parker but it’s only one facet of who she is and not once is her actions, thoughts or feelings treated like a joke. Sometimes people don’t understand why she does and says the things she does but it’s met with patience and fondness over the course of the show. Equally, it’s not met with over-caution. Parker is just Parker. No-one tries to change her. The other nice thing is Hardison, who always makes sure Parker knows she’s amazing because of who she is and not in spite of it. Finally, Sophie is in her 40s. She’s not treated like she’s past her prime. Ever. She’s sexy, smart and never is she pitted against or compared to Parker (who is younger) for anything. Sophie is amazing and there’s never even a conversation of “I may be older but I am still *insert adjective typically associated with younger women here*”. Sophie is possibly the first female character I’ve ever seen who isn’t just unapologetic about her age but has never had to apologise for her age. It’s a non-issue and that’s that. The women on the show are written so well, right down to secondary characters and it’s beyond refreshing.

4.) It’s just fun. The show has a “monster of the week” type format. Except instead of a ghoul or a ghost, the monster is some corrupt wealthy and powerful individual or organisation. The show draws on real-life individuals to do this and therefore closely parallels real-life people and events. It addresses important political, economical, social and environmental issues while at the same time remaining fun and light-hearted. The characters constantly get the chance to play dress up and by GOD do they have fun with it. You get to watch Eliot beat up bad guys in the most delightful of ways, usually after a witty non-sequitur and with a weapon you’d never think could be a weapon. The dialogue and back and forth between the characters is everything. And finally - my favourite thing- the team can never resist striking a dramatic pose after they’ve taken down the bad guy, making sure the bad guy sees them. I mean, they COULD just walk away, satisfied they’ve taken the person down, but nope. They gotta be dramatic bitches 24/7 and pose like they are models for every single month of this year’s Criminal Calendar.

5.) Competence Porn. So. Much. Competence Porn.

Honestly, I could list a thousand reasons for why Leverage is amazing but to list them would to be spoiling so many amazing moments you’d get to discover for the first time on your own if you do choose to watch it. It’s the kind of show you can watch with an eagle-eye and sink your teeth into. But it’s also the kind of show if, you would prefer, put on in the background for something entertaining while you do something else. Each episode is about the job at hand but it’s made up of so many moments between the characters that show how much the creators and writers care about them. You’ll laugh, you’ll cry, you’ll do whatever it is you do when something Soft and Wonderful happens that makes your heart melt. I am so beyond grateful for Leverage. It’s everything I always wanted in a show. Nearly every show I’ve watched in the past 10 years has disappointed me in some way, usually either because the writers run out of steam or characters who I love are treated poorly or given some kind of unnecessary “shock value” arc. Leverage doesn’t do that. Leverage is what it says on the bottle. Fandom isn’t something I joined because I needed canon fix-its. Fandom only enhances and celebrates an already excellent canon.

#leverage #leverage ot3 #parker #alec hardison #eliot spencer #sophie devereaux #nate ford #talk leverage to me

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mandareeboo · 3 years

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SU Music Rankings

Bc I can and I wanna start some Disk Horse rip. These are all in order of preference, with explanations, etc. It’s a long bitch. That said, I’m not counting little short jingles or small joke songs like Little Butler. This is the meat and potatoes of SU music- just under 30 songs. I might do the rest if people like my takes lol.

I scored it mostly on three bases- how dear it was to my heart, how much/often I relisten to it, and also what it means to the plot. That said, little fun songs don’t automatically go farther down than big, plot-heavy songs either! It’s a strange little balance.

Special Note: I don’t dislike any of this music! I love SU and that includes its bumps and glitches. I just pick favorite children lol.

1.) Change

Was there ever a more Steven moment than when he wiped the blood off his face and kissed it into sparkles? I think not.

If “Be Wherever You Are” is an ode to young Steven, then this is teen Steven’s. Talking about change, and how much and how little it can do. How he holds his arms up for Spinel to hug him, so trusting. How he seems able to just. Break into soft tears at will, and not to be manipulative- it’s just his kind nature. The warmth in his voice. Fuck yesssss.

2.) Change Your Mind

This song is only fifty five seconds and it’s EVERYTHING to me. It really felt like someone was speaking the words I’d always held deep inside of me, unsure of how to say. It feels like a goodbye to someone who never really loved me.

As much as I enjoyed Future, if this was the finale of SU, I would’ve been perfectly okay with that.

3.) Drift Away

This song gave me legitimate shivers the first time I heard it, and it still haunts me to this day. Spinel stayed, and waited, and all she got was a transmission thousands of years later. Fuck.

4.) Here We Are In The Future

THE MOVIE IS SU AS ITS BEST AND I WON’T BE SWAYED ON IT. Steven being a teen who loves his weird family but is growing just a bit sarcastic to their drama. The adorable love he and Connie share. His slow realization that he will always be working, always have things to do, is both somber and real. The Crystal Gems won’t be safe with one epic battle. They’ll be safe with years of hard work and love. HIS LITTLE HANDSHAKE WITH AMETHYST.

This is a helluva bop and a great way to summarize the main character’s backstories.

5.) Let’s Only Think About Love

Did ya’ll know that Zach Callison killed his throat with that last note? He gave his all for this performance in a vocal range he no longer comfortably do and by god did it SHINE. The FLAIR. The FORESHADOWING. All of the Gems all being awkward about Rose and Steven trying to bring them to the present. Peridot having a mini-existential crisis in a cute yellow dress. I love Zach Callison’s normal singing voice but man is that a fucking bop. Nothing will ever beat it.

6.) Here Comes A Thought

This bad boy helped me out a LOT with some mental issues I was dealing with in high school. I was unmedicated, unsupervised, and full of anxiety. I’d have break downs when I tried to speak about certain things. I couldn’t function. This song inspired me. It helped me feel okay with my intrusive thoughts.

And the episode! -chef’s kiss-. Once again bringing up the morally gray area of training child soldiers. Connie expanding her social group. Steven’s trauma hauling ass in that second half. The ANIMATION. Stevonnie’s gorgeous singing voice. GOD yes.

7.) It’s Over Isn’t It?

Just barely squeaking above Stronger Than You, this ballad is everything gorgeous. The whole episode is. I think Mr. Greg stands in the top five of my episodes for the entire show. It even got nominated!

There’s just so much about this song that I love. The gentle melancholy of Pearl’s voice. How the crew had to redo the shots for this bit bc Deedee went so fucking hard. The hard cuts between Pearl, remembering the love of her life, and Steven, who has begun to feel like he took her away. I’d recommend this song to anyone, regardless of what they do or don’t know about SU, simply bc it tugs so many heartstrings of love, loss, and responsibility.

8.) Stronger Than You

Did you realize this episode aired SEVEN years ago? This bitch was what got me into SU! Hearing about Ruby and Sapphire made my little gay heart so happy inside, and then getting a whole song confirming that they were a couple, that their love powered the strongest Gem on the team? Aaaaaaaaa

To this DAY I get excited when I hear Estelle start singing. This song is timeless. This song will live in media history. God I fucking love this song.

9.) Other Friends

I’m not the biggest musical person, so I hadn’t heard of Sarah Stiles before her casting as Spinel, but JESUS CHRIST the lady went hard. She went SO fucking hard. Sarah Stiles started on 100 and somehow just kept CLIMBING. You can just hear the sheer manic energy building in her voice, the anger and resentment. 10/10 Sarah Stiles is a queen.

10.) Independent Together

This made the list entirely bc the crew was like “you’re gonna get a himbo ass Steven-Greg fusion singing with Opal while Garnet flies across the moon on Lion while floating” and I am forever thankful to them for it

11.) Who We Are

Bismuth deserved more songs. ‘Nuff said.

12.) Peace and Love (On the Planet Earth)

It Could’ve been Great is EASILY one of my favorite s2 episodes. I love the entire concept of this song. Of Steven making music to reflect how much Earth means to him and his family. Of him teaching Peridot some self-care. Also Peridot’s singing voice is really cute and squeaky.

I know it’s silly, but I would’ve really enjoyed a flip around of this in Future! Like Peridot reminding Steven how much he loves music, that he needs to take time to relax for himself, maybe with a new verse or just a remix of the original song!

13.) Something Entirely New

I watched this episode as it aired, and I legitimately almost cried. I love Charlyne Yi’s voice so much ya’ll- her raspy, not perfect singing voice against Sapphire’s deep soothing lull is great.

And to have Ruby and Sapphire’s meeting be the way it was- for Ruby to bemoan Sapphire losing Homeworld, to being stuck with a single Ruby, while Sapphire is a noble who has always been taught everyone in her “caste” is vitally important (and has, in her own mind, taken that to mean every Gem, as she should) and how they come together and make each other happy. Good shit good shit.

14.) I’m Just a Comet

The fact that Greg’s music career never really blasted off pisses me off to this day bc Tom Scharpling’s voice is fucking BUTTER. Also the song really feels like a jab at his parents now that we know the kind of dynamic he had growing up. “This life in the stars if all I’ve ever known” is definitely him wiping away their existence after reminding them (and himself) the things they used to say about him.

15.) Do It For Her

This episode. This fucking episode. This episode got me permanently hooked on SU. I’d just binged season 1 and was kinda meh about it overall after the bop of Stronger Than You. “Oh,” I thought to myself, foolishly, “I’ll probably just casually watch this from time to time.”

Like three days later Sworn to the Sword aired and that was it. I was hooked! Pearl’s gentle training song turning darker and darker, Connie’s accompaniment from nervous to determined to fully into such a toxic mindset. The fact that SU had the BALLS to discuss the repercussions of training child soldiers, now and later. This episode was everything to me, STILL is everything to me.

Six years and well over 100 fanfics written later, I think it’s safe to say this show swallowed me whole and never let go.

16.) System/Boot.pearl_final(3)

I debated putting this on the list because it’s not anything crazy important, just a way to show things are Wrong, but I had to do it entirely bc Pearl is so damn SALTY.

Like telling us about the Gems makes sense, she felt like she was given a duty, but she went so damn petty. WHY is that Ruby alone. Gross. This Amethyst is a trash dump. Wtf are you people.

17.) Full Disclosure

This episode really feels like a turning point for SU. Before, the show had its dark moments- but now we’re in the thick of it, and it’s not going away. Full Disclosure felt like an rebuff to the idea of returning to any normal we’d established in season 1. Gems are actually a giant species now. Gems tried to kill us now. There’s this Yellow Diamond bitch who got namedropped. Something about a Cluster.

The song itself is BALLER, with its ingenious use of Steven’s ringtone and photos as he tries to decide whether to clue in Connie on all this nonsense. Meanwhile we, the audience, already know damn well Connie about to yeet some common sense into him.

18.) What’s the Use of Feeling Blue?

I’mma admit it- I’m a Yellow Diamond stan. I’ve always loved her- her anger, her poise, her hardworking nature. I actively argued against the “Yellow Shattered Pink” theories back in the day. But, man, when this arc leaked? I got so overexcited I was too jittery to watch it for like two days. It’s easily my favorite arc of the series. The sheer alien nature of the zoo, the Famethyst, and absolutely Patti Lupone’s beautiful ballad. Goddamn. Yellow singing to Blue to try and help her regain her old status, the warble in her voice as she reminds Blue she misses Pink too, the movement of the bubbles as she talks about attack. It gives me shivers to this day. FUCK.

19.) Tower of Mistakes

This is, fun fact, that only SU song I have completely memorized. The story itself is kinda funny! See, we lost internet at my house for a solid 5 to 6 months when these episodes aired, so I only got a very brief window to view them all. But this was the first Amethyst song in a long while, and I didn’t want to forget it! So I keep replaying it in my head for ages. And that’s still definitely a thing.

Anyway will never not be sad that this entire song was about making it up to Garnet for Amethyst’s perceived slights with Sugilite (which was a two-way road), only for Garnet to pressure her into fusion later when pissed and never discuss it again bc Garnet probably never thought twice about it and Amethyst has the emotional openness of a clam that’s just been told its ugly. Helluva way to make someone feel like shit, G. Helluva way to bottle that shit, Ames.

20.) On the Run

I’ve said it once, I’ve said it a million times: Amethyst! Needed! More! Songs!

The dichotomy between Steven’s play and Amethyst’s honest desire to run away from home is so well-done, especially when you consider a lot of Steven and Amethyst’s actions are playing together. The song is also near and dear to me simply bc it’s my favorite Amethyst episode to exist (well, maybe second to What’s Your Problem, but not by much). Moments like these are all the proof I need that they were right to fuse first.

21.) Be Wherever You Are

This tune really just feels like an ode to who Steven was as a kid. Trapped on an island with no way home, and he’s just happy to be with his friends. The stars are beautiful and not oppressive. Also that one animatic with Lars and the Off Colors playing in the Homeworld Kindergarten to this music was iconic and made this song get stuck in my head for a solid month.

22.) Familiar

I ADORE how the crew use bright neon colors to show how alien Homeworld can be. And Steven recognizing that the Diamonds treat him how the CGs used to, and how prepared he is to “fix” a broken family. It’s a soft, gentle tune about melancholy. Also the Pebbles are beautiful.

23.) Let Me Drive My Van Into Your Heart

Such a cute little love ballad, but every time I listen to it now I just imagine the heart attack Rose must’ve had at the line “And if we look out of place/Well, baby, that's okay/I'll drive us into outer space.” like there’s a Vietnam war flashback if I ever heard one

24.) What Can I Do?

I’m kind of neutral on this one? Rose and Greg both have great voices, but the song itself lacks many lyrics. I think it was definitely a good way to show Rose’s flaws in thinking.

Also, I’m shocked they managed cram that much vaguely sexual innuendo into two minutes, followed by how Not Hetereo that dance between Rose and Pearl was, and not get their asses chewed by it. You go guys.

25.) Cookie Cat

I love a lot of the vibes this song has. The lyrics are so damn prophetic, but they also sound like the kind of weird 90s commercials I grew up on. It’s been like two decades since I saw the Shirley Temple commercial but I’ll be damned if I don’t remember “Animals crackers in my soup! Monkey and rabbits loop-de-loop.”

26.) Giant Woman

I am. NOT the biggest fan of Steven’s original singing voice. I feel bad saying that, since it was just Zach Callison as a kid, but he never jived well with me for some reason. So I wouldn’t listen to this on the fly.

The song itself is still really good though, with all sorts of fun animation of Amethyst and Pearl being bitchy to each other. It’s a bit sad in hindsight to see tiny Steven trying to get his moms to get along. Ahh, season 1.

27.) Strong in the Real Way

This song has SUCH a strong start. Pearl reflecting on Sugilite’s problems, but the show making sure to show us that Pearl’s lack of enthusiasm towards her also lends itself to jealousy as well as just general malaise. How much she cares about Steven, and wants him to grow up strong.

And then Steven just kinda. Ruins it? I appreciate his enthusiasm for tryna bulk up but to take what was starting as such a rich, personal song and broadcasting it to random strangers just makes me a bit sad. Almost a bit angry on her behalf?

28.) That Distant Shore

I KNOW this is gonna create some discourse, but I’m just not the biggest Lapis stan. I love her voice. I love the visuals of the song. And I get why she felt afraid and needed to flee.

But Lapis never got to take responsibility for her own actions. And, in the end, the song feels hollow to me- because we all know she’ll never talk to anyone about it, know she’ll burst back in and destroy the barn, and no one will ever question it. I like Lapis a lot, but I feel like her arc never was fully finished. She never got help. She never learned to feel safe.

29.) Dear Old Dad

I’ve yet to meet a single human being who likes this episode tbh. There’s some great discussion about what kind of parent Greg is from it, and what kind of dynamic he has with the Gems that he felt he had to fake an injury to hang out with his son. Honestly the first half was fine and dandy. It’s just that then they Greg just went out of his way to drag Steven away from missions and such. It never jived well with his character before or after.

Also, is it just me, or does Zach himself sound like he hates the song as he sings it? There’s no passion or heart in his voice. It sounds like they told him to read off cue cards and he did. Tom Scharpling’s best attempts didn’t save this one for being a skipper. But the episode, unfortunately, isn’t, so it gets a spot on here.

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pynkhues · 2 years

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Top 5 fav Rio scenes

Oooo, this was a fun one to think about, anon, because while I've given similar lists before, I actually don't think I've done any since the show ended? This might change as re-watch continues, but right now, I'm going to say:

5. Dubby fight in 2.07.

What can I say about this scene that I haven't said a million times already? I simply Love It. I'll die on the hill of 2.07 being the most romantic Beth and Rio ever get, and while I tend to weight that with the return of the dubby at the end of the episode and Beth's naked defense of Rio to Dean, this argument pulses with insult and offense but also real concern. Beth and Rio rarely get to actually fight (which I'll come back to in a minute) but when they do, I think they're really given the space by the writing, directing and acting to be emotionally revealing, and in this one, Rio revealed a lot.

4. The money making scene in 3.04.

It's not always easy for this show to find the balance between the intimacy and danger that Beth and Rio present as a dynamic, but it absolutely nails it in this scene. Rio gets to be the threat, the crime boss, the mentor, the lover, the - - still, despite everything - - true partner that he is at his most nuanced, and the show utilises everything in its arsenal to depict why Beth's still drawn to him, despite all that's happened between them. Rio smoulders, but he does a whole lot more than that too - he's curious and conflicted too, and in being so, it creates the texture that, at it's best, is what makes the show and the character so good.

3. Beth and Rio's fight in 3.06.

Beth and Rio never really get that cathartic release after she shoots him in 2.13, but this is by far my favourite scene that addresses it, both directly and indirectly. This fight after he's killed Lucy is pretty much the opposite of cathartic, but it's emotionally raw in a way this show rarely lets either Beth or Rio really be, and Christina and Manny both really deliver on the weight of it. You just feel everything left unsaid, and Rio's both snarling with fury while also sagging with exhaustion and uncertain in regret, and I think you really feel that in the scene. He can be such an emotionally complex character, and I think that was really shown in this scene. I love it a lot.

2. Every Rio scene in 4.15.

Okay, this is sort of a cheat as he has a few scenes in 4.15, but I love each and every one of them. This might not be a super popular opinion, but I think there were certain scenes that Manny mmm, failed to deliver on in s4, but he was really on fire in this episode, from his snarky irritation with Beth at her most bratty in the opening scene, to his utter joyful delight at realising Beth and Annie have scammed Nick in the middle, to the pulsing intimacy and emotion of the final scene in her kitchen where he tells her all she has to do is ask. It's just !! SO. MUCH!!! And I'm so, so glad Rio as a character got these rich, fun and bright sparking moments to finish the series on.

1. Rio at the dealership in 2.04

I mean, it is simply everything to me.

My flight has been delayed by eight hours and I'm stuck at the airport, please send me things to rank!

#i'm actually genuinely surprised no s1 scenes have made the cut?#i think he's just more emotionally complicated and nuanced in the latter seasons #there'd defs be 1.09 in a top ten though #i just really like it when they break up hahaha #rio #nbc good girls #top five meme #welcome to my ama

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mostlymovieswithmax · 3 years

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Movies I watched in July

Once again I’m doing my monthly round-up of movies I’ve watched. This was a good month for the cinema getting back on track and seeing new releases including the new M. Night movie, Old and James Gunn’s The Suicide Squad. Pretty sure Marvel put out a new movie also. I’m hoping that this list can help in guiding a decision about what to watch (or what to avoid) and introduce people to movies they may otherwise not have heard of or bothered to see. These short reviews are my own subjective opinions on each individual movie and maybe a more informal approach to movie criticism can help include others who are just passing through. Here is every film I watched from the 1st to the 31st of July.

Bridesmaids (2011) - 4/10

Off to a good start. I won’t say Bridesmaids is a terrible movie but I don’t think I’m exactly the target audience. As far as I know, this is a beloved comedy but I just can’t get on board with all the boring, juvenile humour; with Maya Rudolph shitting in the street, with Rose Byrne and Kristen Wiig trying to one-up each other at a toast that went on forever, with Melissa McCarthy shitting in a sink… the conflict is so done to death and makes the movie feel unspecial. I do understand the appeal of the film, especially for women in that before this movie the likelihood of seeing something like this, where women play up the more crass and gross side of comedy, was probably few and far between. But the story is very tired and while I did appreciate some moments, namely a couple of decent jokes and some of the more intimate scenes, for the most part it felt like they wanted to corner a more quiet type of line delivery in a way that was supposed to be understated but very funny so as to not rely on over the top body language or musical cues, and it ended up being super dull.

Spectre (2015) - 7/10

As far as I can tell, a lot of people don’t like this instalment of the James Bond franchise… but I really enjoyed it! I’ve really taken a shine to these Daniel Craig-era Bond movies and while I can’t say any of them are the most amazing thing, I have a lot of fun with them. The biggest problem I have with Spectre is the villain being utterly pointless and uninteresting in basically every way. The idea of every villain Bond has fought before being tied to this one organisation controlled by this one guy is ridiculous, and what makes it worse is that the villain is barely in it! There’s so much that doesn’t come together in this but as it goes, I still had a really good time. Daniel Craig holds the whole thing together; he is excellent as 007 and the main reason I’m up for each of these movies is because of him. Sam Mendes directs again after the previous instalment and for what it’s worth I do think he does a good job with some of the action set pieces and the locations. I’m so ready for No Time To Die.

Shazam (2019) - 7/10

Shazam is a genuinely fun superhero movie that doesn’t take itself seriously at all. I was having a great time throughout and while it could conform to some of the same tropes we’re used to with these kinds of movies, it still remained playful and used the character of Shazam to his fullest potential in a way that showed an understanding of just how silly the idea of a kid who can turn into an adult and shoot lightning out of his hands is.

High School Musical (2006) - 6/10

So as you may or may not know, I co-host a podcast: The Sunday Movie Marathon. It’s a film podcast and every week I get together with my other co-hosts and watch movies. For episode 38, we watched the High School Musical trilogy. This first movie blew me away. I was really surprised with just how much fun I had, and if you want to hear more of my thoughts on the film, please listen to episode 38 of the podcast.

High School Musical 2 (2007) - 4/10

We then jumped into the second and while it’s certainly not as good as its predecessor, there are still some brilliant songs that manage to top the last movie. Again, more of what I have to say can be heard on episode 38 of the podcast.

High School Musical 3: Senior Year (2008) - 3/10

Senior Year was pretty hard to get through. I don’t remember it being as bad as it was, but then I didn’t really remember it anyway. It did however have one redeeming quality, which you can discover on episode 38 of the podcast.

The Piano Teacher (2001) - 9/10

What the fuuuckkkk. The Piano Teacher is horrendously affecting and I was so upset when it ended, maybe not because it’s not what I wanted but because it’s just so fucking dour and unrelenting. This is the second Haneke movie I’ve seen (after the original Funny Games) and I’m so impressed with how well executed it is. Following a woman who teaches piano, we get a glimpse into the life she lives, how sheltered she is from living with her mother at an age where you’d reasonably expect a person to be living alone or with a partner or friends (even going so far as to be sleeping in the same bed as her), and how repressed she is sexually. It’s clear she’s never experienced any kind of sexual interaction or romantic love with another person, so she goes out of her way to take control and make that happen. The upsetting nature of it comes from just what she does in pursuit of it or as a result of her repression, and what is done to her. It is by no means a movie to recommend to your parents but The Piano Teacher offers so much in terms of the ideas it presents (and I’ll admit there seems to be a lot more going on than I think I picked up on a first go round) about women in modern society, and about the portrayal of sex and expectations of people when it comes to how that is represented in a person’s character depending on their gender. I really enjoyed this movie but it is not for the faint of heart.

Sharpay’s Fabulous Adventure (2011) - 1/10

My podcast co-hosts decided it’d be a right laugh to add Sharpay’s Fabulous Adventure to this episode and that might have been a fun idea for them because they got to watch it together, but I was just watching it alone. Just a 24-year-old man watching Sharpay’s Fabulous Adventure alone and having a miserable time, I might add. But for a short and sweet ramble on what we all thought, please listen to episode 38 of The Sunday Movie Marathon podcast.

Dr. No (1962) - 6/10

A lot of very iffy parts of this movie. A lot of discomfort arising from how black people are portrayed that really didn’t sit right with me. As far as a Bond movie goes, this first instalment in the series is one I’ve seen before and it’s not wholly engaging but it plants the seeds for the rest, with Sean Connery breathing life into the role and making an otherwise lacklustre plot bearable.

Black Widow (2021) - 6/10

I think probably the best part about Black Widow is the experience I had while watching it. It was great being back in the cinema with a couple of friends in a packed theatre. The energy was high and I’m sure for a lot of people, this is the first time they’d been to the cinema since Endgame. For what it’s worth, I did have a lot of fun with Black Widow and I’ve explained more of what I thought about the movie in episode 39 of the podcast.

The Climb (2020) - 10/10

The Climb was added to Now TV recently and I already knew I loved it, having seen it in an empty cinema theatre last year, which I had an absolute blast with. The Climb details the years of a rocky friendship told over scenes filmed as one-shots. Not only is the presentation something to gawk at, but the performances by the two leads playing these friends with a terrifically dysfunctional dynamic is truly captivating. They’re both trying to figure out their own lives and where one can come across as being rather selfish, the opposite is true in his counterpart, whom everyone loves. This is a truly funny and heartwarming movie with a lot to say about how we choose to live our lives and who we choose to be with. It’s a shame the distributors of The Climb didn’t do a very good job because if not for it being available on Now TV, it would be near impossible to watch without forking out more money than is necessary to purchase a film.

From Russia With Love (1963) - 5/10

The second Bond movie. I thought perhaps I’d change my mind on it with another watch, having seen it for the first time maybe a year ago. But no, it’s still largely boring and it treats women like absolute garbage. From Russia With Love is one of those movies I forget as I watch it, and I was trying very hard (in the middle of the day!) not to fall asleep.

The Good, The Bart, and The Loki (2021) - 1/10

I don't usually talk about the short films I watch but for this I'll make an exception. As we all should know, Disney owns The Simpsons now, through their acquisition of Fox, so, coupled with another of their properties, that being Marvel, they decided to make a six-minute animated film wherein Marvel’s Loki is stranded in Springfield. This felt as though it was a minute long due to the horrendously jarring pacing; it is a movie that feels adamant that it needs to exist, while trying as hard as it can to be over as soon as possible. It serves only to stare the audience directly in the face and say “look, characters from The Simpsons are dressed as Avengers”, shit out three credit scenes, then end before you’ve even processed the atrocity you just bore witness to.

Russian Ark (2002) - 8/10

For this next episode of the podcast, we watched a few Russian movies, starting with Russian Ark, a film shot completely in one take as the camera moves about a luxurious museum in a first-person perspective as this main character watches what is happening around him, seeing people moving about the place but unable to interact with them, guided only by another man who seems to be just slightly out of his own perception of reality. This is a tremendous feat in filmmaking and more can be heard about what I have to say in episode 39 of The Sunday Movie Marathon podcast.

Ivan’s Childhood (1962) - 7/10

For my own pick of Russian movies to discuss on the podcast, I chose the debut feature from one of my favourite directors, Andrei Tarkovsky. It’s amazing that while this is not his best film by far, Ivan’s Childhood is still such a stellar debut, jumping around in its timeline as it details a child’s experience in the second world war. Again, I do go into more depth in episode 39 of the podcast, so be sure to check that out.

Outlaw (2019) - 1/10

The third movie chosen for this marathon is apparently the fourth Russian LGBTQ+ movie ever made. I’m unsure of the ultimate goal of this movie but what seems to be clear is that it hates the LGBTQ+ community. This is perhaps the worst film we’ve discussed on the podcast to date, so listen to episode 39 to understand exactly why it’s such trash.

Almost Famous (2000) - 7/10

I too love heavy music and also studied journalism so it stands to reason that a movie about a teenager who makes his way onto a band tour, following them through America and interviewing them as they hang out and play shows is going to be a premise that resonates with me. This certainly did. I enjoyed Almost Famous a lot; this kid is living the dream and I was so along for the ride, seeing a lot of myself in what was being portrayed. That said, the story itself is at times a bit by the numbers and I really would’ve been more on board if the visual component was more interesting. For what it is, technically it’s fine enough but nothing in that department ever jumped out at me.

Minari (2021) - 8/10

It’s crazy that this didn’t get a theatrical run where I live in the UK. It feels as though I complain about film distribution all the time but I really don’t understand the process by which a movie gets no cinematic release and yet, months later will pop up on the front shelf of hmv, taking pride of place. But of course I got the blu-ray straight away. Minari has a lot to say about the immigrant experience, specifically in America as a family comes over from Korea and tries to start a business and make something of themselves. You get to see a lot of what you might not think twice about when you think about immigration: the hardship of coming from a place where you know everyone to somewhere rural and sparsely populated, having to make friends with locals and integrate within the community; the strain it can put on a family and on a marriage where this idea is presented about the importance of making it on your own in order to live and not just survive, while also taking into account why you’re doing it in the first place and the value you place on being part of a family that you decided to make because that was more important than money, than economy, than proving you were good enough to make it in a place that gave you very little advantage from the offset. This concept of the promised land, of the American dream is a construct. There are times when it’s not pretty, when you have no running water, or you’re in debt, or a family member is dying and it just feels like you’ve been dealt as bad a hand as you can get. But it is better to know you’re not facing all that alone.

Roma (2018) - 10/10

This was my recommendation for the podcast episode on Alfonso Cuarón movies. Roma is as beautiful as it is heart-wrenching and I would recommend listening to episode 40 of the podcast to find out more about my thoughts.

An American Werewolf In London (1981) - 8/10

In all fairness, London is enough to make anyone a little crazy at the best of times. An American Werewolf in London showcases some fantastically grotesque effects, akin to something like Carpenter’s The Thing, in showing the dead brought back to life and a horrifically gory transformation scene. Although the film is from the perspective of an American protagonist, directed also by an American, the depiction of British culture and climate is something I’ve not seen many films pull off quite so well, and I was pleasantly surprised at the more comedic tone the film has overall, which is something that works more in its favour than straight horror would.

The Party’s Just Beginning (2018) - 6/10

Karen Gillan’s directorial debut is… pretty good! There are a lot of ideas I like in this movie: a woman living life and through convenient circumstances, is confronted with death in many ways. Gillan obviously knows her homeland as well as she can, imbuing the whole thing with an intensely Scottish vibe (though maybe not in the same vein as something like Trainspotting) that makes it a bit more unique than a more run of the mill movie of this ilk, backed up in no small part by her own main performance. The plot itself is no great diversion from the kind of story I’m used to with these smaller movies and for something that’s trying to include messaging about transgender issues and suicide, it probably could have been handled better or done in a different way.

Solaris (1972) - 9/10

Another Tarkovsky joint, one I thought I’d revisit to see if there was indeed more to get out of it a second time. Well, it’s no surprise that yes, there was certainly more to get out of it. Solaris is a crazy trip of a movie and I would liken it to Kubrick’s 2001 in terms of how grand the scale of it feels. Yet this is a film that comes across as deeply personal, choosing to focus on a specific character as he goes to a space station to help those on board who are experiencing some kind of emotional crises, only to feel the effects of the planet, Solaris invading his own mind as it has the crew. To many, I can see this lengthy Russian sci-fi being a tad slow but my personal experience is one of deep engagement. Solaris pulls its viewer in a lot of different directions and it is always doing something unexpected in terms of where its narrative goes. There’s a lot to think about with the movie and thankfully it’s no chore to watch again.

Y Tu Mamá También (2001) - 9/10

Another recommendation for the podcast episode on Alfonso Cuarón movies. This is a very relaxed experience, following three young people as they go on a road trip, visit different places and have sex. Listen to episode 40 of The Sunday Movie Marathon podcast for more of my thoughts.

Children of Men (2006) - 10/10

My favourite Cuarón movie, one that never stops being tense as its characters are constantly moving towards the end goal. Set in a future where humans are infertile, the oldest living person is 18, and London is the last city in the world that’s still keeping it together, somewhat. This is masterclass filmmaking. Listen to episode 40 of the podcast for more insights.

Minority Report (2002) - 5/10

I’m really not the biggest fan of Spielberg… Minority Report is an interesting movie in terms of its concept of stopping crimes before they happen by way of prediction, but I just didn’t connect with the heart of it. The colouring is way too overexposed in a way that’s supposed to be eliciting a futuristic vibe but instead feels so early-2000’s in the worst way. My biggest problem with Minority Report is just how long it is, clocking in at two hours and twenty-five minutes which allows for a lot of meandering, all while never quite developing characters enough for you to care about.

Caché (2005) - 9/10

Oh god! Another Michael Haneke movie! Here we see a couple periodically sent video tapes featuring hours of footage of the outside of their house. The anxiety ratchets up and the mystery gets deeper with every minute. There’s always at least one moment in any of his films that have so far made me realise just how out of my depth I am. Caché is no exception, and I won’t spoil anything here because I think it’s better just to watch the movie and see for yourself. He is a director that wants the audience to know something and that something is never what is explicitly shown at face value; it is pressed into the fabric of the film - plainly evident, yet hidden. Caché is so stupidly clever in displaying its themes and messaging - making reference to the Siene Massacre of 1961 as well as a deeper study of colonialism - and there’s no way to change a single detail of it without risking the Jenga tower crumbling to the ground. It all works in tandem. It is passion and fury and haunting.

Coco (2017) - 7/10

Pixar had a string of around seven forgettable movies before this point so thankfully Coco emerged to show the company still had something good in them. Coco deals a lot with themes of death and legacy, remembering those who are gone in order to preserve them and while its plotting is quite basic and there are certainly moments that either drag or cannot escape the same Pixar formula, most of what the movie has to offer is a lot of fun, with creative, colourful animation and emotional beats that resonate the way they’re supposed to.

Incredibles 2 (2018) - 5/10

Oh, they almost had it! There's a lot here that could have been explored in far more interesting ways. Setting Incredibles 2 directly after the events of the first movie was not a good idea. If it had taken place five or ten years after, the characters could have been in different places in life and it would feel as though they'd actually changed and developed. But instead of trying to be a film that actually cares about its characters and the journeys they go on, a lot of the film is wrestling with the idea that Bob isn't supportive of his wife and Jack-Jack has to fight a raccoon… They have to shoehorn in a villain that in no way compares to the genius of the original. The ending of the original introduces another antagonist that gets wrapped up within this film's first ten minutes, except they don't catch him and he's never mentioned again. It's a real shame because the animation is fantastic and the acting is superb and there are great ideas sprinkled throughout. It just doesn't come together.

Toy Story 4 (2019) - 6/10

I was rather reluctant to watch Toy Story 4 because from the get-go I’m not really here for sequels being made just for the sake of it. Everyone loves Toy Story and making another one is a sure fire way to make money. This is the first time I’ve seen Toy Story 4 and for what it’s worth, I did enjoy it. The animation is immaculate and that alone feels like a huge flex from Pixar who tend to step up the game when it comes to animation in film, despite not having the best track record for films generally at this point. While it was nice to see these characters again, I found a lot of them to be side-lined (namely Buzz) in favour of a story that focuses mainly or entirely on Woody, who I just don’t like as much as in the previous movies. Generally the movie is good and decent enough but there’s no real antagonist and the plot is quite loose… it doesn’t feel as though it needed to be made from a story point of view.

Onward (2020) - 6/10

And with that I have seen every Pixar movie. And Onward is a fine one to go out on. While I don’t think it compares to the likes of earlier Pixar it’s still pretty fun. Or maybe I’m just a sucker for a medieval setting filled with bright colours and magic! Speaking of which, the animation was super and the medieval quest element is something that hooked me with the film. Again, plot-wise it does feel very familiar and I don’t know, maybe I’m past the point now of expecting Pixar to mix it up where their formula for story-telling is concerned but the movie is quite predictable. Nonetheless, while I’m not rushing back to see Onward I would hardly turn it off or refuse if someone wanted to watch it.

Old (2021) - 3/10

Oh boy! New M. Night movie dropped and my word, was it fun! For more of my thoughts on this… masterpiece (?) of a movie, please direct your attention to episode 41 of The Sunday Movie Marathon podcast.

T2 Trainspotting (2017) - 5/10

Trainspotting is perhaps one of my favourite movies and I had never bothered with the sequel, 20 years on, because the ending of that first movie is so conclusive. T2 felt more an excuse for these guys to get together again and in that, I probably would have preferred a couple of pictures on Twitter of the main cast and director, Danny Boyle having dinner or something. This is a fine movie - very arty in its presentation but meandering and dull in its story that doesn’t offer much in the way of proof that it had to exist.

Taste of Cherry (1997) - 9/10

What makes life worth living? This is a central question and theme of Taste of Cherry, and one that leaves such interpretation not only up to its central character but to the viewer as well. This film got me thinking about times in my life when I truly have had no answer to hard questions. Because it’s hard to convince people of things they are so adamantly against and harder still to rationalise what you believe if you’re not even entirely sure why you believe it in the first place. We are all of us alive and in recognising that, does that make it precious? And if indeed living is not a happy thing, why then should we fight so hard to preserve it? I felt upset as I watched this movie because I’ve been asked these kinds of questions before and it makes me feel stupid when I’m unable to answer. But the only real answer I can give is, everything. And if you can’t see the point then you’re not looking hard enough. Taste of Cherry is beautiful in its exploration of these topics and in its overall presentation, offering some of the best visuals in any movie I’ve seen - fitting for a feature with so much to say about the beauty of life - and an ending that as much pulls the rug out from under you as it does pull you out of the dark and make you realise just how lonely you’ve felt.

Bones (2001) - 2/10

Snoop Dogg is Jimmy Bones! This film is super funny but I’m not sure it’s trying to be and I really didn’t love it overall. But I do talk more in depth about it in episode 41 of the podcast.

The Duchess (2008) - 5/10

Another recommendation for the podcast. The Duchess was pretty much exactly what I thought it was going to be and there’s a lot to like about it but generally it’s a bit sparse. For more chat on the movie, listen to episode 41 of the podcast.

The Man With One Red Shoe (1985) - 1/10

This was another one for the podcast and man, was it awful. We had to watch it at 1.5x speed towards the end because it just wasn’t getting finished otherwise. To find out more, make sure to listen to episode 41 of the podcast.

The Emperor’s New Groove (2000) - 7/10

Pull the lever, Kronk! Haha! Slays me. I do quite miss this era of Disney, where the animation was hand-drawn and the stories were actually compelling and funny. The Emperor’s New Groove is vibrant, it’s got great characters and memorable moments that will forever be ingrained in the memory of culture. All in all, it’s just a solid flick that doesn’t waste time, developing the standard fall from glory type of arc but smoothly and in an entertaining way.

The Suicide Squad (2021) - 8/10

Oh, bloody hell! They actually made a good one! The Suicide Squad is not only better than the ‘Suicide Squad’ of 2016 in every way, it’s a genuinely great film! This time, James Gunn (director of Marvel’s Guardians of the Galaxy movies) is at the helm and it seems clear that Warner Bros. basically let him do what he wanted with the movie, as it doesn’t seem to bog itself down with the restrictions of a more family-friendly rating. The result of this is a far cleaner, colourful film with a clearer vision that takes from early Vietnam movies and uses that style to craft a superhero/villain movie that differentiates itself among the copious amount of existing films of the genre. The Suicide Squad wastes very little time, introducing fun, crazy characters we’ve not seen on the big screen before and isn’t worried about killing a whole bunch of them, with standouts being Elba’s Bloodsport, Melchior’s Ratcatcher 2, Stallone’s King Shark (expertly rendered with fantastic visual effects), and Robbie’s returning interpretation of Harley Quinn. A lot of Gunn’s trademark sense of humour is laced throughout and more often than not, it hits. The audience at the cinema were truly loving this movie and I’ll admit, I was right there with them. This mix of the gritty, gory and absurd is not something that should work as well as it does but the basic premise of the film is already so silly (and boy, do they know it) that it just works! Certainly one of the best DC movies since The Dark Knight and one I’d be more than happy to watch again. This is what the modern comic book movie should be: just balls to the wall fun!

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